Studio Note Publication
by Hotel Maria Kapel as part of the duo show I deleted your picture (with Merve Bedir)
Publication includes an interview by Irene de Craen, and images from the exhibition
and installation shots.

The Side Room Pamphlet #11
publication as part of Do fictive images have tangible consequences?,
a collaborative talk that took place in The Side Room, June 2017
publication & talk together with Merve Bedir, Amal Alhaag
and Maria Guggenbircher

Performative Practices, blog by Claudio Zecchi
Text on my video work Sept. – Oct. 2015, Cizre
“Which role do the images perform in the political event? How to produce and manipulate images? Is it possible to witness the hard common people’s life conditions without stress their position as victims or become rhetoric? …”

2015

RijksakademieOPEN Catalogue, 2015
Text by Vincent van Veelsen
“…News coverage from conflict areas generally consists of sensational material. The footage reflects only selected ‘moments of reality’. While local daily life
continues as usual, it’s mainly overshadowed by footage
that either glorifies or sensationalizes violence or its consequences. “Which images are worth showing?”
and “How to produce images?” become central issues in the works of belit sag. Her videos focus mainly on the rhetoric, presentation and manipulation of images of
conflict, with a particular investigation into the role
of the image maker in the politics of representation.
sag’s work discusses the imaginable and unimaginable,
the audible and muted, ethics and aesthetics, distance and involvement; it is an exercise in curiosity,
going after what is visible and audible in the frame,
and what is, simultaneously, escaping it. …”

2014

ArtSlant, 2014http://www.artslant.com/ams/articles/show/41422
“… sag analyses news, media, and entertainment images creating new narratives from her findings. The video work And the image gazes back questions the role of images in current and historical events. For example Sa? ponders the similarities between one of the shots in ISIS’s execution video of James Foley and a shot in the final scene of the movie Seven, both of which feature a decapitation. She discusses the re- and pre-mediation of images—the way they appear and reappear either deliberately or accidentally. Her findings are an artistic investigation in what it means to live in a world where fiction and non-fiction influence each other in ways we can’t even imagine...”

RijksakademieOPEN Catalogue, 2014
Text by Vincent van Veelsenhttps://www.rijksakademie.nl/NL/alumni-profile/belit-sag” belit’s works ‘read’ newspapers, films, and media images, on a visual basis, commenting on the meaning of specific poses, compositions, codes and gestures, in order to subsequently decode, locate, reveal and create entirely new, or hidden, narratives. Quite often, the images turn out to have political connotations, rendering them carriers of additional meanings – which are remotely related, or entirely unrelated, to the original way they were narrated.In the video piece and the image gazes back the artist questions the role of images in current and historical events, engaging an underlining emphasis on visibility and representation. Even as these events, and their representations, resonate in our own memories from media, the artist is navigating the blurred lines between fiction and reality, the visible and the unseen, audible and mute, imaginable and unimaginable.The video piece lost, uses loosely filmed images to tell a story based on pictures from daily newspapers. The images, originally functioning as illustrations supportive to text, are promoted to the status of main subject. The artist questions them, searching for hidden and underlying stories, ideas and motivations. In this quest, she addresses and reveals both the social and the political significance of these media images, while speculating about their unconscious or subliminal messages.”

On earlier collaborative video-activism works and karahaber collective: